Ken Workman Archives

Our Blue Planet: Five Quick Questions with Ken Workman

Lily Hansen on Mar 29 2022

Our Blue Planet: Global Visions of Water documents the stories and histories of water in our world. Pulling exclusively from local loans and works in SAM’s permanent collection, the expansive exhibition features paintings, sculptures, textiles, and multimedia works by over 70 artists from around the world. Over the next 10 weeks, we’ll be talking with some of the contemporary artists involved with the exhibition about their artwork and the importance of water in their lives.

Born and raised in Seattle, Ken Workman is a member of the Duwamish Tribe, the first people of Seattle, and the fifth generation great-grandson of Chief Seattle. A former Systems and Data Analyst at Boeing, Ken previously served as a Duwamish Tribal Council member and Duwamish Tribal Services President. He also currently sits on the board of two non-profit organizations, the Duwamish River Cleanup Coalition and the Southwest Seattle Historical Society. Read below to learn about Ken’s involvement in Our Blue Planet.

1. What is your name and where are you currently based?

My name is Ken Workman and I live in West Seattle.

2. What is the title of your artwork and how does it fit in with the themes explored in Our Blue Planet?

I serve as the introductory speaker for Our Blue Planet. The curators of this exhibition reached out and asked if I would say a few words in my native language, Lushootseed, and welcome people onto this land. In the video, I welcome everyone to the area, to the museum, and into the galleries in my native language—and I was honored to be asked to do it.

3. What thoughts, ideas, and/or perspectives do you want visitors to take away from your artwork in Our Blue Planet?

For so long, the Duwamish people weren’t allowed to speak our language on our land. Being a part of this exhibition, and being given the opportunity to speak Lushootseed publicly, is very special to me. I consider it an honor any time I am able to share our ancestral sounds with the public. What I think is most important in watching this introductory video is hearing my voice and my language. Water is such a broad topic which affects every community and person in the world, so I want visitors to learn about and understand the Duwamish people’s relationship to water while I speak in my community’s native language.

4. What other artworks in the exhibition stood out to you?

The one that really caught my eye was Tracy Rector’s Clearwater: People of the Salish Sea. She uses a combination of audio recordings and visual media to tell the story of the annual Canoe Journey, an inter-tribal event from Alaska to Oregon that celebrates the return of traditional canoe culture and water protection. In watching the video, what I realized was that I was actually a part of it! In addition to the drumming and native songs playing in the background, I suddenly heard my own voice and remembered that Tracy had asked record me speaking in Lushootseed many years ago. When I first watched the film, I was a bit surprised to hear my voice as I didn’t know I was a part of it but it was wonderful to discover that Tracy had included me in her work.

5. How do art and activism intersect? Why do you think it’s important for museums like SAM to curate exhibitions around environmental and societal issues such as water?

It’s important for us to recognize the importance of our natural resources. Around the world, potable water is in short supply. Our glaciers—in the Alps and here in America—are melting and our access to drinking water is shrinking. Bringing attention to these issues, like Our Blue Planet does so well, is more important than ever. Through experiences like these, I hope people will wake up and think more about using and conserving limited resources like these.

– Lily Hansen, SAM Marketing Manager

Photo: Beau Garreau.

An Ethos of Equity: Learn About SAM’s Exhibition Advisory Committees

Rachel Eggers on Nov 27 2018

Over the years, SAM has from time to time brought together a group of community members from diverse backgrounds and affiliations to advise on the presentation of a special exhibition. In 2009, SAM met with leaders of the city’s South Asian community when a set of exquisite royal paintings from Jodhpur would be presented at the Seattle Asian Art Museum. A group of fashion designers and instructors advised the museum—and helped create a fashion show featuring local designers at the museum—for SAM’s fall 2016 exhibition celebrating the work of the legendary Yves Saint Laurent.

These, and numerous other examples, signify the importance to SAM of connecting with people outside of the organization to fulfill its mission of reflecting the community it serves. This ethos guides much of SAM’s work already; for example, the Education & Public Engagement Division nurtures ongoing relationships with local artists, performers, writers, and other culture-makers in presenting dynamic programming and events.

Now it’s official: going forward, the museum will bring this community-centered process to the development of all major special exhibitions presented throughout the year, convening Advisory Committees who will meet and advise the museum throughout the planning process.

A major impetus for making this process official? The deeply rewarding experience working with an advisory committee for Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson (June 14–September 9, 2018). As plans for this major exhibition came together, it was clear that the complex subject matter would require thoughtful execution at every step.

The exhibition would be held for the sesquicentennial of the birth of photographer Edward S. Curtis (1868–1952), but far from a celebration, SAM would present a richly nuanced re-evaluation of his legacy. “While Curtis made many contributions to the fields of art and ethnography, his romanticized picture of Native identity has cast a lingering shadow over the perception of Native peoples,” noted Barbara Brotherton, SAM’s Curator of Native American Art. “Today, Indigenous artists are creating aesthetic archives reclaiming agency over their visual representation.” Brotherton worked with three contemporary Indigenous artists—Marianne Nicolson, Tracy Rector, and Will Wilson—to conceive of Double Exposure, an exhibition that would thread their works in conversation with Curtis’ iconic photographs, as well as objects from SAM’s collection.

This collaboration between curator and contemporary artists also included the advisory committee, whose feedback helped make space at the museum for a reckoning with Curtis’s legacy. With Double Exposure, SAM took a big step in its efforts to decolonize the museum. We’d like to acknowledge the committee members once again: Dr. Charlotte Coté (Tseshaht / Nuu-chah-nulth First Nation), Jarrod Da (San Ildefonso Pueblo), Colleen Echohawk-Hayashi (Pawnee Nation / Upper Ahtna Athabascan), Andy Everson (K’ómoks First Nation), Jason Gobin (Tulalip Tribe), Darrell Hillaire (Lummi Nation), Madrienne Salgado (Muckleshoot Tribe), Lydia Sigo (Suquamish Tribe), Asia Tail (Cherokee Nation), and Ken Workman (Duwamish Tribe).

To bring together the advisory committees, invitations are sent to leaders, artists, and thinkers whose own work and communities are reflected in the particular themes of an exhibition. These selections are drawn from SAM’s already-rich network of partnerships and more importantly provide opportunities to create new connections with community leaders and organizations in the region. Reflecting the value of this work, and ensuring that the opportunity to serve is accessible to everyone, SAM offers a stipend to all committee members. Each committee meets with a cross-divisional group of SAM staff who are charged with taking the feedback and guidance of the members back to their colleagues. Interacting with each step of the exhibition-making process over the course of multiple meetings—including curatorial, marketing, education, and more—the committee’s input contributes to the development of exhibition content, communication, and interpretation.

Advisory Committees for upcoming exhibitions are already at work. SAM is grateful for their dedication—and eager to experience how this community-centered model contributes to SAM’s mission to connect art to life.

– Rachel Eggers, SAM Equity Team Outreach Taskforce Chair

Photo: Natali Wiseman. Pictured, L to R: Ken Workman (Duwamish Tribe), Jarrod Da (San Ildefonso Pueblo), Dr. Charlotte Coté (Tseshaht / Nuu-chah-nulth First Nation), Curator of Native American Art Barbara Brotherton, Double Exposure artist Tracy Rector, Asia Tail (Cherokee Nation), Lydia Sigo (Suquamish Tribe), Madrienne Salgado (Muckleshoot Tribe). Not pictured: Colleen Echohawk-Hayashi (Pawnee Nation / Upper Ahtna Athabascan), Andy Everson (K’ómoks First Nation), Jason Gobin (Tulalip Tribe), Darrell Hillaire (Lummi Nation).